One work by this man begins with strings playing a pianissimo "A" in five different octaves, a movement whose title is transliterated as "Slowly, Dragging, Like a sound from nature." The diary of Natalie Bauer-Lechner chronicles the creation of a work by this composer which quotes from Nietzsche's "Midnight Song." Lehar's Merry Widow and Wagner's "Die Meistersinger" are parodied in the finale of the seventh of this man's symphonies, which variously draw from the final scene of (*) Goethe's Faust, the earlier song cycle Der Knaben Wunderhorn, and the chant Veni Creator Spiritus. A staggering forty-minute first movement
One work by this man begins with strings playing a pianissimo "A" in five different octaves, a movement whose title is transliterated as "Slowly, Dragging, Like a sound from nature." The diary of Natalie Bauer-Lechner chronicles the creation of a work by this composer which quotes from Nietzsche's "Midnight Song." Lehar's Merry Widow and Wagner's "Die Meistersinger" are parodied in the finale of the seventh of this man's symphonies, which variously draw from the final scene of (*) Goethe's Faust, the earlier song cycle Der Knaben Wunderhorn, and the chant Veni Creator Spiritus. A staggering forty-minute first movement opens his lengthy third symphony, while he gave his song cycle based on Chinese poems an atypical name to avoid the curse of the ninth. For 10 points, name this Austrian creator of the "Resurrection" and "Titan" symphonies, The Song of the Earth, and the "Symphony of a Thousand."
One work by this man begins with strings playing a pianissimo "A" in five different octaves, a movement whose title is transliterated as "Slowly, Dragging, Like a sound from nature.
Gustav {Mahler}